Posts Tagged ‘delicate

23
Apr
12

Azurebumble : ‘AI : Series’ (Photography Book)

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Recently, I’ve curated a number of image series by photographers from ‘Flickr’ on my blog ‘Aesthetic Investigations’. Subsequently, I thought it would be interesting to document these works in a book. Therefore, i’ve arranged a collection of ’39’ abstract and minimal photographic series by these ’32’ artists. A selection of pages from the book can be viewed below, a full book preview can be seen: HERE

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Thank you to everyone who contributed their images to this project.

All graphic content and curations by : Alan Wilson ( azurebumble )

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Book Cover
Front & Back Pages
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Introductory Pages
Copyright & Contents
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Introductory Pages
Tags, Artists & Series Thumbnails
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Photography Series
Gianni Galassi
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Photography Series
Teresa (Colourful Life) & roB_meL
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Photography Series
Camilo Todemann & Olli Kekäläinen
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Photography Series
Brancolina & Barbara Stumm
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Photography Series
Françoise Lucas & Leonie Polah
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Photography Series
Julian Gomez & Tom Mclaughlan
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Artists

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Alec Cheer……………………Annemie Hiele……………………..Azurebumble……………………Barbara Stumm

Brancolina………………….Camilo Todemann…………………..Daniel Molina…………………….Fernandoprats

Françoise Lucas…………….Gianni Galassi…………………….James Withey……………….John Kosmopoulos

Julian Gomez……………Krystina Stimakovits…………………Leonie Polah………………………….Lillykeeper

Lord Jezzer…………………..Lucie Bourassa…………………..Mark Valentine…………………..Olli Kekäläinen

Peter Moons…………………..Phédia Mazuc……………………..Rita Vita Finzi…………………………….roB_meL

Shari Baker……………………Steffen Tuck………………..Teresa (Colourful life)…………..Tom McLaughlan

Visualisarium…………………..Wilma Eras……………………Wouter Hogendorp……………………….Zel Nunes

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VIEW FULL BOOK PREVIEW AND PURCHASE HERE

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04
Feb
12

Mary Christiansen : ‘Multi Plate Etchings’ (Prints)

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‘Himmerland’
multi-plate etching
107 x 107 cm
2008
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‘Untitled 2’
multi-plate etching
16.5 x 18.5 cm
2008
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‘Shadow line’
multi-plate etching
15.5 x 16.5 cm
2008
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‘Tilt’
multi-plate etching
19.5 x 20 cm
2008
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‘Untitled’
multi-plate etching
18 x 20 cm
2007
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‘Untitled’
multi-plate etching
15.5 x 17 cm
2007
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My pre-occupation as an artist is with creating highly distilled, contemplative nuances of feeling in print. I aim to compose images – drawn from nature and memory – of stark yet tactile forms, held momentarily out of balance; forms disappearing into immaterial shadows and configurations of form in spatial settings, undergoing transformation. I’m fascinated by forms appearing like projections onto surfaces, fragile and immaterial articulations, punctuated by the interplay of light and shade. Re-discovering delicate forms in space at distances defined by rhythm and structure, are of interest to me.

My objective is to create a state of suspension of individual elements, caught in a complex of layers with deceptive simplicity. The creation of these images is intuitive in nature. The creative process is ongoing, with every intuition, reflection and configuration, pre-figuring another possibility. The printing process is an integral part of my working process. The separation and building up of layers, multiple overprinting, the use of inks of differing viscosities – these modifications inform the work as it evolves. The tactile qualities of print-making, the depth and richness of surface, are crucial. – [Artists Statement]

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Mary Christiansen : Hughson Gallery

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02
Feb
12

JP King : ‘Hobbies in the New Kingdom’ Series (Collage)

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‘Hobbies in the New Kingdom’ documents the activities of the various
characters in a forthcoming novella – ‘Cookie Crumbs Lead to Ovens’.

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‘The Pants Sisters’
Paper on Paper
JP King
2010
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‘Safe As Drinking Water’
Paper on Paper
JP King
2010
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‘My Secret Trombone Song’
Paper on Paper
JP King
2010
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‘When The Music Went Pink’
Paper on Paper
JP King
2009
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‘Joshua Barndt’
Paper on Paper
JP King
2008
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‘It Took a Lot of Energy to Make Wind’
Paper on Paper
JP King
2009
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I work primarily in the mediums of collage, text, print-based multiples and occasionally with relational/installation-based projects. I focus heavily on story-telling techniques that attempt to unpack popular Canadian & American mythologies in whimsical and historically slippery ways. Seeing the collage original not as an end, but instead as a means to a final print, I often enlarge my works to make visible the delicacy of the paper and ink used in a specific era of source imagery. Through my digital process the original becomes an inexhaustible plate from which variable prints will be pulled.

In my collages, the grotesque and awkward gestures of the human body are emphasized through remixing body types, bits, features, and limbs, while seeking a beauty only found in discomfort. With nostalgia I hope to elicit unfolding family myths that can be recounted to a point of fiction. I use language as a painter uses a palette. I rely on absurdity to refrain from finger-pointing at what upsets me in the world. Humour becomes a practical device to deliver a softened sadness and emptiness that I know from wrestling with myself. In trying to understand my own masculinity, relationships, and fragmentary family unit, I’m carrying, and laying to rest, a few feelings around heroship and failure. [AS]

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JP King : Website

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25
Nov
11

Laurent Millet : ‘Les Monolithes’ Series (Photography)

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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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‘Les Monolithes’
chromogenic dye print
20 x 24 in
2002
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The 2002 photography series ‘Les Monolithes’ is dark and imposing. To create it, Millet returned to the shoreline with pitch-black squarish shapes resting in the water. “I was looking for very minimalistic shapes,” he says, “that could be seen, on the one hand, as almost three-dimensional, and on the other hand, like a black hole in the picture.” The images were inspired by Richard Serra’s engravings, but he also had in mind the history of the beaches at Normandy, where the Canadians tried to disembark during World War II but were killed because their boats couldn’t land on the rocky shore.

“In my imagination,” says Millet, “I was seeing these engines, half-covered by the water, like geometric shapes.” It’s not necessary to know what he was thinking when he made these pictures to feel they have a somber quality. And yet there is a delicacy about them too, in the irregularity of their outside lines, and in the flimsiness of the shapes themselves. “I have a strong necessity to build things,” he says, “but now my constructions have become faster and lighter.” [Extract : Robert Mann Gallery]

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Laurent Millet : Photography

Laurent Millet : Cargo

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03
Nov
11

Richard Galpin : Peeled Photographs

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Spheres
Peeled Photograph
71 x 85 cm
2010

Fantasy Mouse
Peeled Photograph
123 x 101 cm
2005

Splinter Cell III
Peeled Photograph
100 X 87 cm
2010

The Other Side (New York)
Peeled Photograph
155 X 106 cm
2004

Brace III (breach)
Peeled Photograph
76 x 95 cm
2011

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Richard Galpin’s complex art works are derived from the artist’s own photographs of chaotic cityscapes. Using only a scalpel Galpin intricately scores and peels away the emulsion from the surface of the photograph to produce a radical revision of the urban form. The artist allows himself no collaging, or additions of any kind – each delicate work is a unique piece made entirely by the erasure of photographic information. The works enact a re-imagining of the city, but their futuristic vision is predicated on the city as it is now, with the intricate details bearing traces of contemporary urban experience. Playing between abstraction and representation, the works draw their visual language from a variety of early 20th century movements such as Constructivism, and Vorticism…

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Richard Galpin : Website

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11
Oct
11

Monika Grzymala : Aerial I–V (Book)

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‘Aerial I’
relief in handmade paper
33 x 33 x 2 cm
2011

‘Aerial II’
relief in handmade paper
33 x 33 x 2 cm
2011

‘Aerial III’
relief in handmade paper
33 x 33 x 2 cm
2011

‘Aerial IV’
relief in handmade paper
33 x 33 x 2 cm
2011

‘Aerial V’
relief in handmade paper
33 x 33 x 2 cm
2011

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Monika Grzymala (Zabrze, Poland) creates temporary interventions in space, which—closely responding to the site at which they are produced—turn the line into a three-dimensional drawing. Her works are based on the fundamental examination of drawing as a medium as well as the medium of paper. In order to be able to translate the line into sculpture, the artist appropriated the Washi technique of making paper by hand. The drawing in these new works is the relief-like, heavily textured paper itself.

The sculptural drawing the installation artist has made for the Collector’s Edition is, next to the photographs, objects, and paintings in our program, a special object. The delicate work on paper is made of bast bark from the Asian mulberry tree, so-called kozo, and of abaca, the fibre a tropical banana plant. Crossing lines accentuate the organic structure of the natural white rag paper, and, like a sublime relief, span a space that is open to all sides and goes beyond the edge of the image following five different principles of image. At the same time each these meticulously executed, handmade pieces rests harmoniously inside the closed form of the square format. [Hatje Cantz]

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Monika Grzymala : Hatje Cantz Publishing House

Text : Relationships between the image carrier and the line

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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